***
3 +
I must say that my rating is higher primarily because it is the subject of this film is far more complex and inspirational for the detailed story than could be delivered through this format - 50 minutes, only four interviewees, talking heads intersected only occasional clip. That means it's certainly not the ultimate movie about Cronenberg. Such, at present, and does not exist, nor was the announcement, after all, he is still alive, healthy and hardworking, and has no plans to almost put an end to his work, thus: An investigation is underway.
However, LONG LIVE THE NEW FLESH is valuable because of several things: first, there is a crossover point in the Kronenbergovom opus - after FLIES - that is, after self left behind horror label, it seems, forever (šmrc!), and their views of then started to pack in more respectable form, festival-friendly , although still "pomerenih" freak-weirdo drama (with the occasional surreal, fantasy, and sci-fi moments). As for me, I have no doubt that Cronenberg's "horror" phase markedly stronger, more powerful, profilisanija, influential and, historically, more important, seen en generale , but it is generally observed later, "post-horror" phase .
Among the latter has a brilliant masterpisova (Dead Ringers, Crash), excellent (NAKED LUNCH), respectable (EXISTENZ), decent but unnecessary (SPIDER), solid-irrelevant and impersonal (M Butterfly) and, recently, extremely failed, mediocre, conventional (A History of Violence, Eastern Promises), where even his latest, about Freud and Jung, not promising something stronger than a solid biographical filmčeta festival. This is all well and good, but most of these (especially the post-Crash) films he could have someone else to sign, and FILMOFILI around the world would not bogznašta lost or that they were not signed (not recorded).
In other words, the real legacy of David Cronenberg - History will show, and I sign in advance - is made up of almost uninterrupted series of unique, the distinctive, inimitable, bezpresedanskih, ingeniously original sci-fi-horror-melodrama: Shivers, RABID, BROOD, SCANNERS, VIDEODROME and THE FLY. While Fast Company does not count, except as a footnote, the film shot as a hobby and hobbies (j ** ALA him racing car!), While the DEAD ZONE solid piece of 1980s big-budget trash, which, alas, passe same as the original author , Stephen King, and therefore the appendix in Kronenbergovoj career, which fortunately is not mutated in the direction of Hollywood, as it had a tendency. In light of that, who knows, maybe it's better that he did not bother to make a TOTAL RECALL then when he wanted, early 1980s, with Richard Dreyfuss, although it would undoubtedly be much better movie than Švarcenegerovog, we eventually get (and which has its charms - fuck, it's Verhoeven after all! - but it's not Dick, not even close).
In any case, this documentary was shot at a time when Cronenberg was at a creative peak, the phase between its two best film (after this shot was DEAD RINGERS, my all time favorite for a long time). Therefore, it Crony talks about his most distinctive themes: body / psyche / spirit death and transcendence, vs. sex. death, subversion and revolution, violence and blood Vs. "Art" and so on. all of which is illustrated in films with the most direct way to see everything - and that, though, it is not broke excessive self-consciousness, which truncated his later films (especially Spider and EXISTENZ).
Kronija addition, in the film still:
Stephen King, this is also caught at its peak, immediately after its most popular (IT) and best (Pet Sematary) novel, and immediately before slowly but surely began to sink in the weaker books. King, of course, no temper, no sentiment let alone the intellect to comprehend Cronenberg in general, let alone something really lucid about it says, but it's moderately fun to watch and listen to his jokes, jokes and Joe-Sixpack sentence of this great director. He is here, of course, just because of this unfortunate connections across DEAD ZONE, otherwise it is really hard to find prominent horror writer of the time that there is less familiarity with the poetics of David Cronenberg, ie. which is less invited to advertise on it.
Martin Scorsese is a great protector and filmoljub hvalospevac unjustly marginalized by (Mario Bava Michael Powell ...), but also among directors, one of the most remote from the world of David Cronenberg, which he, like King, of course, respected and loved in his ingenuous way. But let's not fuck, Scorsese was in this body of work originally responded by recognizing the use of film language, because it has a smell, but its connotations of that evident escape, and this on several occasions in the documentary clearly seen, for example. when at one point admit that he spoke with Kronenberg, and nothing under it milim God did not understand what he was talking about this company from McLuhan and his mudrijaških these books, but he still believes in Scorsese word.
Robin Wood, a special browned flour in this soup, and certainly the most sense to the guest. Wood is a critic and a very poignant insight - when these are not limited to his offensive ideological premises (marxizam + psychoanalysis + queer / gender studies). And he is here present at its peak - just as he came off best, or at least the most influential book, HOLLYWOOD FROM VIETNAM TO REAGAN - Ghoul's Seal of Approval + Ghoul's a link for download (password: ebooksclub.org) . Wood was, by all who spat Kronija, the most influential and the brightest, so it makes sense that his opposition is heard here, although I must say that the film sounds much more conciliatory, as if it were less convinced of spočitavanja which is a chronic earlier, in early 1980s instructed, declaring him a "reactionary" because the director does not believe in the "liberation" that are prophesied St. Marx and Saint. Freud. Denial Vudovih thesis and analysis of the ideological "problematic" aspects Kronenbergovih movies can be found in the book Sinematičko body Savira Steven (Steven Shaviro, The Cinematic Body , University of Minnesota Press, Minneapolis and London, 1993.), And especially in "Bodies of Fear: David Cronenberg" (pp. 127-158). The book can be downloaded in PDF from this link .
producer of this film is Chris Rodley , who later hosted the ultimate book for every Kronenbergofila - Cronenberg Cronenberg ON (original collage of interviews and discussions, organized chronologically, is quite comprehensive in every sense, from production to concept and poetic dubioza). This is one of my favorite pieces in the library, but I do not have the e-form, and therefore, faute de mieux , who wants to read from the screen, here's an excellent study David Cronenberg: AUTHOR OR FilmMaker? by: Mark Browning (and here's the password: ebooksclub.org). Anyone who prefers to read the 'artije, and even in Serbian, this book was released last year Film Center .
As for the documentary, it, of course, you can download at Abraxas .
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